Variety (February 1957)

TELEVISION HEVIEW$' Wednesday, February li>57 Television Foliowup Comment KaiserAluminum Hour believable and ^lympathetic charac solid commercial style, 3ands im-. highway, and never so interesting spite his difficulty in explaining “Kaiser Aluminum Hour” de ter and bringing a touch of reality pressed as even a better thesper, ly (if nqj; “entertainingly"). the role that the Buddha religion livered one of the most distin back to the play. even handling the most sentimen For these reasons, “No License played in his life. An interesting guished television plays of4;he sea Comic, incidentally, is modelled tal situations with credibility,” to Kill," written by Alvin Boretz interlude also was supplied by Dr. son last Tuesday on NBC-TV. Not, on Red Buttons— or at . least the Fred Clark, as boy’s cynical man and assembling a splendid cast Gordon Seagrave, famed “Burmai In fact, since Kraft TV Theatre’s circumstances outlined (three years ager, and Jamie Smith, as the press emoted from Hollywood in color Surgeon" of World War H, still “Patterns” have tv viewers been on the network and then off, 19 agent tool of Clark, also limned (since the network’.s Brooklyntint treating the sick as head of his treated to such a fortliright, pene writers fired)— and if that’s the some sharp prptraits of show biz studios were otherwise taken up), hospital in that strange country, trating sociological study of an case, then the manager of the characters who, even, if they don’t represents a milestone; not as a The issue of neutralism was ex acutely disturbing problem — the story is attorney Jonas. Silver exist, . easily # could. Incidentally, drama — there have been better plored by IT Nu, a history prof es expendable middle-aged man in stone. And here was a pleasant Col. Tom 'Parker, the manager of ones produced covering actual in sor at the university; and a student, American enterprise. In fact, it surprise ip casting— Paul Trmp, Presley, reportedly approved this cidents — but in subject matter all in general agreement that Bur was the selfsame Fielder Cook, tele’s “Mr. I-Magination," turned script, including the acidulous forcefully expressed and compe ma’s proximity to Commurilst having established a unique niche in a fine thespiiig stint as the delineation of the manager. tently constructed. China made any but a neutral role for himself in his directorial helm manager. (Ironically, Tripp was The big city sequences , in the Whatever the degree of dramatic in world politics difficult. Yet, ing of “Patterns," who once more, playing :bis own manager— he’s a hotel rCom and in the theatre, with value, it* was subordinated to" the the sentiment of the government as producer-director of the KaiSet Silverstone client.) . He too should the suggestion of the frenzied teen tragedy potential that confronts and other leaders in favor , of entry, tackled an assignment with find a new outlet for his talents as age fans, were handled with com* everyone, who’s a driver — the in democracy, as opposed to totali superb artistry. By one of those a result of this stint. Gene Sacks, piete realism. The drama lost nocent, the 'guilty, the .mentally tarianism, was made vivid, ironic circumstances, “Throw Me as a comedy writer, topped an ex gome of its punch when the' locale ahd/or physically unfit, the ones Pictorially what was intriguing A Rope,” adapted from a play by cellent supporting cast. shifted to the boy’s southern home ^ith perfect reflexes as well, as was the complexity of the civiliza Franklin Barton, came two weeks As went the acting, so went the town. The provincial characters those with impeiTections that tion there, its Incongruities, mod after the sponsor and its agency, direction and production. Robert were cut from a familiar mold somehow add up to legal “normal ernity amid an ancient framework. Young & Rubicam, had served ho Mulligan kept the story moving even though Vaughn Taylor, as cy” in the case of the lords at the Helping the show, too, was the tice on' Unit Four Productions, quickly, and his staging of the the boy’s grandpa who urges him wheel. Here was shown not only Burmese leaders which was responsible for '“Rope," flashbacks— bringing the story to to return to religion, gave a touch the main “little drama" of the per spoke English. In such shows as that its services were no longer life on the same set where March mg performance. sons and families involved in H'is* “See It Now’* appears to be .. .'x, .. . .. The denouement was also some death on a great artery (the Mer fmc^nlng as an ‘Throw Me A Rope starred Gordon Duff s production trappings what ambiguous. Monash attempt ntt Parkway in Connecticut) but goodwill, ^making the foreign Franchot Tone as a 46‘year-old were li^ a restoration of the moral cake and have the technique used by the highway Understandable. Horo. senior editor of a book publishing Smdiq One of a couple of ye^ars curtain, the boy sur police in pinning responsibility for house who was assailed by fearl ago, slick and thoroughly prof es renders his ideals, but there’s also murder on the road. For it is mur Canada .Chrysler Festival after losing his job in the process on every level. It s just suggestion that he will yet be den as so strikingly Shown— mur After two chaotic spectaculars of a merger. . Eighteen years have that Aurthur was so intent on dis redeemed. ' After, no doubL he der that requires the same kind of which saw many bored viewers gone down the drain and total as ./iis comic that he made a couple of million and can approach by the police as other twisting the dials to an American sets from his $18,500-a-year jpb him a little too dull and bmak. idealisWc. Herm. major 'crimes which also involve station, Canada’s 60-minute “Chry are $9,000. Pride and respectabil c/iau. _ . “negligence” and “innocence” be sler Festival" is more in the groove ity must be maintained, also a fine . -7 . Per«oh in P^rcnn fore the fact. in its third try but still needs home in the suburbs and a child Jackie G^ason Show Whpn FA Mnrrnw at hnmp Playwright Boretz had his police o^ore comedy effects in that gen put through college-. Fear snow Since (a State which, un Ural accusation of too much Ipng Jackie Gleason Show Since Perry Como in the com Person to Person When Ed Murrow feels at home “negligence” and “innocence” be sler Festival" is more in the groove fore the fact. in its third try but still needs Playwright Boretz had his police n^®re comedy effects in that genin Connecticut (a state which, un ®ral accusation of too much long . snow ^omo m uie with his “Person to Person” cuests in Connecticut (a state which, un ®ral balls into panic as six months of petmg NBC-TV slot has turned w th his Person to person guests, Governor Abe Ribicoff, is in kair entertainment. Immediate desperate searching for work while Lst-moving and ^n^formatfve Llf the very forefront of progressive j changes see a new dii*ector, Nor oernetuatinff a nretense to friends Jackie Gleason should become last moving ana inrormative nau man Camobell takintr over, with entertainment. Snd” neiSfe ffiim “nSwnt* Paft^'ocaliVt”^, the t.^e”lart ho™-. When he dpesi^t for what aPProacn tp Sz^Sme^ SS"fn “a7 The realization of a present-day Saturday mght (2) the Gleason ever the reason, it s a ha^^^ equipped to th^ 17 tive producer; but Hume Cronyn economy that discards creative show was formatted as a musical ^ havior pattern and emotional state dropped as emcee, this chore being talent at the height of their pro <^omedy with songs by Lyn Duddy In Roberta Shemood and ^ of those suspectSi o^^^^^^^ taken over by the ad lib (?) intro ductivity and the false standards Jerry Bressler integrated into ^ homicide " complemented by the dictions of Elaine Grand wlio has engendered by living up to the punch-card Drovotrainer device overcome acoustics snafu— or Joneses in suburbia are sliattering. session, although basically, the furnished by the Aetna Casualty & f^® mike-^plus the The fact that it all ends happily G^®fson stanza must stand or fall as one of the best P to P sessions gurety Co*^^ ^ * viewer handicap of a femme emcee the calibre the comedy, not.the started on th "Va^ti^Ritt directed the play Festi R"all tW^^^^^^ The score and the musical se note with an unusual pickup from min^mu^ varTthe » IV QiK-pp«rqf(il quences wcre Okay as dressing, but the tennis court M'here Douglas witn a ve^ minimum ot \vaste mo , . the Canadian Broad nc Ms financial routines between Gleason and and his wife were slugging it out tipn avoiding the melodramatics ^ ^^e.^fP^dian Sighl^ “d " • Carney were still decisive. The so busily that Murrow asked if he that ^re customary^ for^ U^^cts of ^Stcoa"?^ \his'"to“ Franchot Tone as the protagonist S,.,f J**, lr‘s® Mrrled^U® of if o^welL thise some _$70,000 a performance, rvith approach tp careless driving) in Campbell, taking over, with troduce a psychologist medico Franz Kraemer still in as execuequipped to “simulate” the be tive producer; but Hume Cronyn Tnnp as Hip nrnH^onist 1 pt®t for this "musical” revolved I Should go away and come back I «aiiu. xur ic«iua auu pw1 «70 000 a nerformahce with vavl f svmDaXtM nortravM ^ abound a global tour which Gleason later. Then followed a relaxed ses ers carried aU of it off well these q ?ysit.i”’CorD S cSruicMnc ^Znletf Tnderl ThS ^nd comptny, playing “The Honey sion with a . couple of. down-to ihcluding pr^ Chiysler Coip.^ of^ Canada picMng mln^ind the Issup For^ that mooners,” copped in a jingle con earth, happy and talented people. neuKan, uacK ^lugma^, remaining 15% (Series'is'be t^r eterv membe^of tL cast M test. The > opening embarkation Apart from the personal inciden J^^^ard Bmns; and Carl Betz, Bob in| st^geT withWitltion aum riSding tL bh Dl^^^ humber, with chorus' and bMlet tals such as the fact that [Anne, a by Eyer, He en Wallace, .Steve Pen ence at the Uptown S sSve Lareness^^^^^ troupes,' was cut frofti the standard Belgian, used to do publicity for dleton. Wil iam Traylor Ned with LoeT2 745-reat6r eZmSft.'‘™r"i^rOcUlaf®^ they were mairied. 'W^er Dennis Cross, wUh ^oew 2 J45 seaterjea^^^^ sensitive awareness of the social comment. In particular, Roland copped in a jingle con earth, happy and talented people. , Heckart, Jack Klugman, The ' Opening embarkation Apart from the Winters 'as "the tion scene. Some good sp^ial Douglas got in a plug (and art gram “Chrysler Festival” setup*.) T Hnrtpn the wifp and Wil hiaterial numbers, such as You wprk) for his -upcoming Bryna Pro . The only incongruous note was some inspiration is evident in gan See It In Paree,_;i dnet|ons pic, “The Viking," and theZokifgTtaA%atloMl ment executive gave restrained and F-ife and If explained that Bryna is his moth rator. Although Im spoke his role ^ut the pattern of opera and ballet Stive nerfo^^^^^^^ I tailored er’s name and when she saw his .well, on and off screen, there has little general appeM for the rSn hefghte^Tall t^^^ foi the. Gleason-Carney team who, name up in lights for the first time, seemed no connection between his Canadian buyers of Chrysler cars, fn wlmt emlrgl^ threat to Comp in the he promised her that her’s would particular personal tragedy, that of Top audience applause went to ma ure and Tort^^^^^^ depar ment, carried off the too. ' Anent awards -^ Douglas bemg acid-blinded by criminals, Do?oth? Collins o^f “Hit Parade” Hres nf the seas^ Rose ‘h^r customary savvy, wouldn’t talk about his Oscar and death on the highways. note for her friendly delivery; the Winters as the fnend^n-need, a Louisa. Horten as the wife and Wil I numbei^ such as_You.| work) for his-upcoming material numbers, such as “You wprk) for his-upcoming Bryna Pro The only incongruous note was Can See It In Paree,” "I Never dUctions pic, “The Viking,” and installing Victor Riesel as the nar liam Rerlfield as n nersnnripl nlncp oee ll in jraiee, l iNCVer QUCIlOnS piC, "The VlKing, ' ano vii-wx pa uic iiai fhe bOO ment executive gave restrained and Better In My Life" and “If explained that Bryna is his moth rator. Although Im spoke his role but the ment executive gave restiainea ana r ^ ^ » ncaHv tailnrcd Pk*'s t,ar«p «rhp« ciip ca«i his well, on and off screen, there i and death on the highways. note for her friendly delivery; the novelty piano playing of Ferrante & Teicher; and the seven-people cast of “New Faces," this pointing up the need of comedy values. On word of mouth comment. fortnight Eartha Kitt headlined in what “Chrysler Festival" needs for “Sunday Night at the London Pal audience attention is a good come uies oi uie The bhsic script used some of chances on the grounds that in the Traw. novelty piano playing of Ferrante oldest bits in show biz, but past nothing has happened— he & Teicher; and the seven-people Aiioi I"®?? still laughs in says he sends them to his mother Sunday Night at the London cast of “New Faces," this pointing Robei t Allan Aurthui ^ot into the garish shipboard garb, the short go that he doesn’t have to look at Palladium up the need of comedy values. SppI^ blanket routine, the old schoolroom past performance but must look to ^ For the second time within a On word-of-mouth comment, tradey piece on a^televisi^^^^^ gfgs the husband-hates-wife bit, the .future. fortnight Eartha Kitt headlined in what “Chrysler Festival" needs for “CHiHin Onp^^ ^ TuS The piost ancient-hnes, m fact, in Miami the first “I^ to P” “Sunday Night at the London Pal audience attention is a good come A?^5h!?r’c^nmip^Ii?h WpI wcre the funniest and bpth Glcason remote from' there, producers ladium.” That was a rarp achieve dianorcomedienne.be thismono Johnny Aaron and Jesse Zousmer ment and a gilt-edged way of insur logist or ventriloquist.’ As the nof intfp script with relish. Incidentally, puHed off a real coup by. getting ing a high rating. In her own high highest budgeted variety show on althout,h Camoy IS duc to exit the Miss Sherwood a night off from thq ly personalized style, the colored the CBC network — and with three Sm’r p.^^^^on show, he s still being given g^en Roc just the night after she songstress (who was in Britain for programs to go— “Ghr.ysler Festi nnhannv assigomonts and, on the last opened. .Again, the folksiness per a film chore) made a smash impact val” should get off the longhair pn^ rnntnM assumed, or was assigned, the ^^ded. with a picture of a happy with her slickly styled 20-minute hook and realize that a listSiing K?^p^fpflr-nf and completely unaffected family stint. She achieved an unusual and viewing audience wants the PWnJ/priyMinn and thp comprising Don Lanning, her hus degree of intimacy, particularly in interpolated relaxation of laughs. coI?trucHo?^^^^Sf nn hi« ?hnvv^ Th^ wac pnm” band-manager and an ex-actor, an outstanding rendition of “Mo Lucip Agostini’s 40-man :ofeh lent haSf arp^h^ rL^nn it nptJnt w' 3"^ three boys, one of whom, 16 notonous," which made a sock clos able support to all acts and the corne t^ mtip^^^ yeaf-old Don, displayed some real ing item for a sturdy all-round bill commercials were sensible and un come OT. Story \vas done in flash and it may take aJittle moie origi crMtar-playing-vocalizing rock 'n' • Apart from Beat the Clock,” obtrusive McStny. back form from the middle of . a nality in musical conceptions to ^ th® which remains a standard part of _ iucoiaj. production conference at which beef up the ratings vis-a-vis Como. j the show the talent lineun includ March blows his top. Assuch. it ■ : . , Herm. kA eT BSi’n-rio?aI ro^^^ OLD DUTCH »EVIEW . constituted what amounted to a ^ — group got in some hot licks. Fam^ Tommv Steele (and hi. Steelmen) With Johnny Andrews) ' Jonathan long self-analysis, and Its general . Kraft TV Theatre .. *3 riZ? o^t Andrews, Allegrio Trio, Cathy grimness was on the monotonous Any resemblance to the true JjPi?,®’ sesh Anne Rogers and Anthony Can, A1 Russ and his orch side. story of the current disk phenom. "'“A ‘L’?.? housekeep mg Anne Rogers and AnUi^ Producer: Cene Carroll: . . production conterence at wnicn beef up the ratings vis-a-vis Como, the show the talent lineun includ March blows his top. As such, it / ■ ; . .. .Hernu OLD DUTCH REVIEW , constituted what amounted to a — — .group got in some hot licks. Fam^ Tommv Steele (and hk Steelmen) '’^‘*** Johnny Andrews; ' Jonathan long self-analysis, and its general . Kraft TV Theatre .. Andrews, Allegrio Trio, Cathy grimness was on the monotonous Any resemblance to the true sesh Anne Rogers and AnthonV story of the current disk phenom. ^®ft Hay« ^ng^and danced an exS Producer; Gene Carroll: = This, lack of humor or even Elvis Presley, in the Kraft play, when she s not on the road.. On the “The Bov Friend” the lone Di>’®®tor: Jim Breslin variation in the “boy, am I miser “The Sih.ging Idol,” on NBC-TV Pf® running musical hit atVvndliaml Mins.; Sat. 7 p.m. . , able” theme, ^dded to the fact last Wednesday night (30) was in again if she had the chance, nit at .M yrtd^^ INTERNATIONAL BKEWERIES that the conflict which did exist tentionaUy . concealed. In order to m spite of the 20 years of struggle ,ve?e stout WEWS, 'Cleveland was diffuse, left the show with at lend dramatic cogency to the stoi-y ^®J®i*® she hit the. top.. der?who’s be?S with theXw from (Marcus) best a watery dramatic edge. Presley was apparently used as the the outset, continues as a lively This is an easy-to-take 30-min Beyqnd this, Aurthur s ^ending ^yas pattern for the hero. As played emcee, and' was given full rein in utes^ for polka lovers who can Director: Jim Breslin 30 Mins.; Sat. 7 p.m. INTERNATIONAL BBEWERIES WEWS, Cleveland (Marcus) best a watery dramatic edge. Presley was apparently used as the the* outset, continues as a lively This is an easy-to-take 30-min Beyond this, Aurthur s ending yyas pattern for the hero. As played 5® emcee, and' was given full rein in ut®s for polka lovers who can Beyona tins, Aurtnur s enaing yyas pattern for the hero. As played ^ ja'u emcee, and' was given full rein in utes for polka lovers who can far too.^ pat — the girlfriend telling mo.st effectively by Tommy Sands, or is bored with someolm, panel game. Myro watch studio visitors, in a cafe him she loves him wrought a mir the hero was also a guitar-picking shows up, and when he does like _ _ _ scene, dance; gaze on the band, aculous change in his outlook, one country boy with long sideburns Sf®^. ’ shows in a smoothy ^ performers, etc. and that’s about that vyould have taken a top psy and a sexy vocal style that stimur Pw^og and rewarding hal^hour. unfamiliar country of alb Performers-wise,. Johnny Aii half ^n7' '* See It Now performcrs, etc. and that’s about , . . , „ , and rewarding hal^hour. unfamiliar country of all Performers-wise,. Johnny Aii chiatrist years to perform. One lated his juve audience into squeal unan. Burma, its leaders, its people and drews handles the emcee chores other point; Aurthur s lines and ing insanity. culture, were given the once-over with charm and adds to the pro business demonstrating his hero At this point, the Paul Monash ^ Alcoa Hour by CBS’ Edward R Murrow and gram with k bit of piano playing as a tunny man never came off, script departed from the real-life ‘No License TO Kill,’ a docu Fred W. Friendly, co-producers of and singing. In one song, “Little and one wopdered how the big script into a dramatic essay on mentary style drama about carfeless “See' It Now.”* Titled “Burma Man You’ve Had a Busy Day," An comic on the make for a comeback the pitfalls of success in show busi driving, found “The Alcoa Hour," Buddhism and Neutralism ” the ' drews introduced, his four-year-old ever hit the top at all ness. Although the drama’s basic Showcase Productions and NBG Sunday telecast contained’ many son, Jonathan, arid despito throw in the face of an unsympathetic conflict of big city sin as against TV courageous enough to give over arresting shots and provocative in ing the youngster some, hot leads unbelievable script, small town virtue was old hat. a the 9 to 10 prime time Sunday (3) teiwiews. But after the first half just couldn’t come through with a March did a superb job. buildin,g a savvy \s(iript and some excellent to a grim and depressing slice hour, this tv journalistic essay be Foy-like showcase'. Young Jona solid characterization of a truly performances in the lead roles sus from daily life. “Sudden death” gan to ramble a bit,' lacking co than, though, despite his shyness, miseiaMe loudmouth, March has tamed the show at a high interest dramatics have been aired before hesiviness in structure. is handsome 'enough to embark on F? minutes. —notably in radio (CBS’ public af Overall though, it was a reward a video moppet career of his own, ot the word, but not until recent Sands was completely persuasive fairs special of^a few years ago ing hour. For the telecast, repor Cotliy Carr’s offerings of “Ivory u ?• attractive kid out of the with Red Barber narrating comes ter Paul Niven and cameraman Bill Tower” and “Uno Momento" were cLnw wlio finally makes a to mind as the standout) and occa McClure made a three-month tour professional; the music of A1 Russ oc thf “nS' choice of fame and for sionally m television. But rarely of the country, traveling 2,000 good and Nelson Presley’s vocaliz M?ifriAnri uuhn JSfnvnc thP as agaiHst old fashioncd roll has the subject been developed so miles. Their familiarity with the ing a decided asset, and the Al A ^00^ slnger wlio belted vividly, never in a time period scene appeared evident in the tele legroTrioscomictactlcswereen ort ^ fockv n roll tunes and where millions could be exposed to cast. Ex-premiere U Nu also pro tertaining. Commercials were in stint, making the giii an entiiely one spiritual, Rock ot Ages, in the gruesome facts of death on the vided an interesting portrait, de good taste. Mark. “See' It Now.”* Titled “Burma, Man You’ve Had a Busy Day," An